David Edelstein
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For 1,667 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Election
Lowest review score: 0 The Amityville Horror
Score distribution:
1,667 movie reviews
    • 68 Metascore
    • 80 David Edelstein
    Powerful and then some.
    • 49 Metascore
    • 80 David Edelstein
    The movie is good enough to put a chill into the late-summer air. Salva has nasty surprises in the grim, minor-key last third, during which the feeling dawns on you that sleep for the next few nights won't come easily.
    • 76 Metascore
    • 80 David Edelstein
    The film is, finally, a brilliant tap dance over a void: There’s no real drama when the inner life of the female lead is so shrouded, even if that’s the point.
    • 90 Metascore
    • 80 David Edelstein
    The bad news is that Before Sunset is not as delirious an experience as its predecessor. The good news is that it's wonderful anyway, and in ways that tell us something about our romance with "Before Sunrise."
    • 65 Metascore
    • 80 David Edelstein
    Essentially a solemn, splintered meditation on lost love: a movie about personal space, in space.
    • 80 Metascore
    • 80 David Edelstein
    It thaws the soul.
    • 67 Metascore
    • 80 David Edelstein
    An extraordinarily potent brew.
    • 87 Metascore
    • 80 David Edelstein
    Makes for quite an emotional roller-coaster ride. You don't know whether to celebrate or mock, to laugh or weep.
    • 73 Metascore
    • 80 David Edelstein
    It proves that male action stars can triumph not only over space but, more important, over time.
    • 80 Metascore
    • 80 David Edelstein
    True Grit isn't as momentous an event as you might hope, but once you adjust to its deliberate rhythms (it starts slowly), it's a charming, deadpan Western comedy.
    • 64 Metascore
    • 80 David Edelstein
    I'm looking forward to buying Blades of Glory on DVD so I can get my head around the phenomenal skating routines. Obviously, there were wires and lifts and computer-generated effects, but for my money it looked like the lumbering Ferrell and nerdy Heder were Olympic-worthy stylists.
    • 37 Metascore
    • 80 David Edelstein
    The movie made me laugh a lot anyway. It has a big, inventive cast of loons and a great premise.
    • 77 Metascore
    • 80 David Edelstein
    The fun is in the one-thing-after-another delirium the movie induces, and in our breathless anticipation of what they'll hurl at us next.
    • 73 Metascore
    • 80 David Edelstein
    One of the more lyrical sci-fi action thrillers ever made, in which space and time become love slaves to the directors' witty visual fancies.
    • 64 Metascore
    • 80 David Edelstein
    A nutty, zany, wacky, unruly, spastically hilarious hodgepodge that hits at least twice as often as it misses—which is a big deal, since there are more gags per square foot of celluloid than in any film since Joe Dante's "Gremlins 2: The New Batch" (1990).
    • 81 Metascore
    • 80 David Edelstein
    Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.
    • 73 Metascore
    • 80 David Edelstein
    Frank's writing is razor-sharp, his filmmaking whistle-clean. As a fan of sharp razors and clean whistles, I enjoyed The Lookout--yet I did feel let down by the climax, which ought to have been blunter and messier and crazier and more cathartic.
    • 74 Metascore
    • 80 David Edelstein
    In The Town, he (Renner) doesn't signal that Jem is a sociopath... It's a deeply unnerving performance, beyond good or evil.
    • 56 Metascore
    • 80 David Edelstein
    The mixture of cartoony stylization and regional realism is completely original--and a testament to the genius eye for color of the great cinematographer Roger Deakins and the designer Dennis Gassner.
    • 62 Metascore
    • 80 David Edelstein
    An uncommonly well-crafted historical feminist tearjerker--both anti-patriarchal and a monument to motherhood.
    • 87 Metascore
    • 80 David Edelstein
    Being a puckish Swedish, the writer-director Ruben Ostland slips into a tone that makes Force Majeure almost seem like a deadpan — frozen — comedy.
    • 52 Metascore
    • 80 David Edelstein
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
    • 62 Metascore
    • 80 David Edelstein
    As splashy as Killer Joe is, it's also, beat by beat, meticulously orchestrated, with no shortcuts to the carnage. When it comes to mapping psychoses, Letts and Friedkin are diabolically single-minded cartographers.
    • 86 Metascore
    • 80 David Edelstein
    If I seem cool, it might be because I came in hoping for the same level of blood-and-thunder as in the Evangelical scenes of "There Will Be Blood," whereas The Master is a cerebral experience. But Anderson has gone about exploring fundamental tensions in the American character with more discipline than I once thought him capable.
    • 84 Metascore
    • 80 David Edelstein
    If his (Zhang's) fight scenes don't fully intoxicate, though, his color and compositional rigor compensate for much. See Hero on the biggest screen you can find, and sit close enough for all that spiraling silk to tickle your nostril hairs.
    • 79 Metascore
    • 80 David Edelstein
    Cheadle is extraordinary.
    • 69 Metascore
    • 80 David Edelstein
    The movie has none of the smugness of "­American Beauty": You could dream of living in a world like this.
    • 84 Metascore
    • 80 David Edelstein
    Before it loses its fizz--maybe two thirds of the way through--Volver offers the headiest pleasures imaginable.
    • 83 Metascore
    • 80 David Edelstein
    For all its relative subtlety, Kill Bill, Vol. 2 remains a cartoon: Its wit is broadsword rather than rapier, and its motives are elemental. The banter is second-tier Tarantino: a cut above his imitators, but below the standard set by "Pulp Fiction" and "Jackie Brown."
    • 85 Metascore
    • 80 David Edelstein
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."

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